EME’s has continued “to publish all academic
articles submitted by professional and vocational ethnomusicologists
and cognate scholars, and that demonstrate intelligence and/or excellence
in purpose, presentation, methodology, conceptualization and theoretic
results.” Yet, as it has been a peer-reviewed journal, materials have
been evaluated by several scholars, and refusals have always been accompanied
by helpful suggestions.

The journal has focused on promoting primarily
ethnomusicological endeavors (only consistent essays and just exceptionally
comments, book or record reviews, and conference reports); yet, interdisciplinary
or cognate disciplines and approaches have also been welcome. Every
article has begun with a brief editorial note, introducing the author
and/or making some professional comments.

Now, after the 10th volume, a statistical survey
shows that within the circle of ‘meetings’ that were proposed the Variety
itself came along, widely displaying itself. Out of the 86 signing authors:
19 are from Romania, 22 from USA, 8 from Poland, 7 from UK, 3 from France,
2 from Finland, 3 from Bulgaria, 2 from Republic of Moldova, 3 from
Hungary, 2 from Holland, 2 from Serbia, 2 from Austria, 2 from Israel,
2 from Australia, 1 from Sweden, 1 from Lithuania, 1 from Estonia, 1
from Slovenia, 1 from Bosnia, 1 from Canada, and 1 from India. They
treat East- and Central-European issues (researched in Romania, Bulgaria,
Greece, Serbia, Albania, Russia, Ukraine, Lithuania, Latvia, Poland,
Croatia, Serbia, Slovenia, Hungary, Italy), as well as issues to be
found in the USA, UK, France, Finland, Sweden, Africa, Siberia, Turkmenistan,
China, Korea, Caribbean, on topics from Jewish and Roma musics, shamanism
and archaic modes, up to commercial manipulation and record industries,
from research institutions up to nationalism in scholarship or in music-making.
Besides diversity, and without aiming for it, EME displayed freshness,
vividness, and mobility.